Tag Archives: audition

Interview With casting director, coach, actress & founder of Sound Advice Kate McClanaghan

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Interview With casting director, coach, actress & founder of Sound Advice Kate McClanahan voice over work1. Tell us a bit about yourself. 

I’m a seasoned casting director, producer, coach, actress and founder of SOUND ADVICE, a unique, one-stop option for unparalleled voice over coaching, and exceptional demo production for all skill and experience levels.

I had been a freelance producer since I was 19 years old, producing commercials for Coca-Cola, McDonald’s, Dodge, JC Penney, FORD, Sprint, SEARS, and Kraft, to name a few. I had always been freelance because I’m a union actress as well. I’ve studied with the Royal Shakespeare in London, and came up through Chicago’s Second City and ImprovOlympic (IO), and even brought 9 shows to the Edinburgh Fringe.

2. What made you start Big House Casting & Audio and Actors’ Sound Advice?

BIG HOUSE came about to service the various casting and production demands that consistently kept coming in the door after I had produced a number of freelance projects for NPR. I was already freelance, I just named it after the enormous, greystone building we worked and lived in, in Chicago.

I started SOUND ADVICE because I couldn’t find a single, reliable source that would take me through the entire process of voiceover training, demo production, branding and marketing the career I was after. There were random people who did pieces, but didn’t have the whole in mind. I wanted a single source that honestly had my best interests in mind, understood my greatest commercial assets (perhaps even better than I did), and could produce my demos well enough to truly advance my career, not just my voiceover!

I began assisting friends, and after coaching and producing more than 100 demos for them and seeing them achieve remarkable results rather quickly, I realized my casting and production skills had a greater purpose!

3. How important is training?

It’s imperative. Without it, regardless of how naturally talented, smart, and mellifluous the voice might be… you’re dealing with a loose cannon. You can’t rely on a talent who doesn’t know their job. Trusting a million-dollar campaign to a complete hack puts everyone’s reputation on the line. And your mettle will be tested. There are no beginner, intermediate and advanced talent in this industry. You’re either a professional… or you’re not. Training defines your professionalism and instills confidence. And commerce is confidence.

4. Any tips for acing an audition?

Instead of trying to second-guess what those auditioning you are thinking, give them something interesting to think about. That’s the job! Besides they honestly aren’t thinking a thing. It’s precisely why you’re there. How would YOU play it?

THINK for yourself! In fact, entertain yourself and you’ll find your audience!

5. How different is voice over acting from acting?

There is very little, if any difference at all. Acting is acting is acting.

Voice acting is closest to film acting than any other medium, because they both demand a very vivid imagination and the desire to tell a story, often in the most constricting conditions. Personality and the ability to self direct are key attributes as well.

Perhaps the greatest difference is the fact that in nearly all voiceover scenarios, you’re all by your lonesome in the booth with no one to play off but yourself.

6. Tell us about your books.

The SOUND ADVICE Encyclopedia of Voice-over & The Business of Being a Working Talent is currently in its third edition. (There will be a fourth sometime next year.) It’s more than 500 printed pages of well-vetted industry insider information as well as How To Get An Agent, the branding, marketing and promotion of your career, to more than 100 printed pages of terms and phrases commonly used in all manner of acting for recorded media.

7. How do you become a successful voice over actor?

Do your homework. Practice. If you were to honestly dedicate 25 to 30 hours a week, what would be considered part-time for any other business, for a year or more to creating a voiceover career for yourself, then the chances of becoming successful in this field is more likely—provided, of course, you have realistic expectations and you wisely allocate your time.

You need a proper Vocal Warm Up, and maintain it 4 to 5 times a week for a solid half hour to 45 minutes at a time. Granted it may take you a couple weeks to incorporate it into your weekly routine, but without it your vocal precision and stamina won’t be as reliable as it should be.

Check out our website www.voiceoverinfo.com. Study up. Listen to a lot of demos.

Listen to our podcasts then email us. We have talent all over the world. Provided you have a reliable computer and stable Internet service, we can generally work with just about anyone from anywhere—we just don’t invite everyone to do a demo. (Our name is on it too. We don’t produce a demo track in an hour. Nearly every other demo production house does.)

Everything we do as SOUND ADVICE, just like in nearly everything in voiceover, is one-on-one. We don’t cookie-cutter anything. And we offer the best insight because we continually survey the industry as to what’s needed and wanted from talent in every aspect of the industry.

 

 

A Director In Search Of An Actress by Paul Vates

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Pity the poor director who raises his head above the parapet and publicly proclaims ‘Is there anyone interested in playing Nora?’

If you’ve read my previous articles about the process of staging A Doll’s House, you’ll know it’s audition time. The chosen poster used to represent the internal struggle within the protagonist’s mind …

A Director In Search Of An Actress by Paul Vates1

… but now represents the director’s (Kevin Russell’s) horror as the emails began to arrive. The number soon reached 200. How do you find the Special One amongst all those? Stories abound of some producers and directors abhorring hotmail email addresses, detesting specific drama schools or, even, flinching at the names of rivals on CVs. One famous director is known for whittling the list down by deleting every third email and removing every third application from his pile.

Ask any HR Manager attempting to fill a vacancy in a company – it’s a nightmare .So can it all be that random, relying so heavily on luck?

Ohhhh, yes.

Kevin told me that ‘it’s so silly what goes through my mind when looking at headshot after headshot. Whether they can act or not seems irrelevant. The first time acting gets involved is at the audition itself, but that seems so far away.’

He does, though, admit other skills are required. For him – and this is just Kevin, no one else (before someone complains that’s not how it’s done) – Kevin wants a clear CV, a photo that shows a certain attitude and a covering letter that indicates a little thought has gone into the application. The rest is gut instinct on his part.

Gradually, the audition list was reduced until sixteen actresses were invited to the venue, Barons Court Theatre. Then I joined him in the process, as a guide, a shoulder to cry on and the-fella-that-reads-along-with-the-auditionees.

The pressure is on them: 1 – to turn up on time; 2 – to resemble the person in the photograph (you’d be amazed how many don’t); 3 – to enjoy themselves. We assist with the last part, aiming to create a jovial and inspirational atmosphere.

So – the big news … Drum roll … An actress has been chosen and she did say ‘Yes.’ Her name is Alexa Matthews. When asked she said, ‘I have always wanted to play the role of Nora and as soon as I saw there was an opportunity to do so I applied immediately. She’s a complex character and makes such an interesting journey though the play and one that as an actor you can really challenge yourself with, this really excites me.

A Director In Search Of An Actress by Paul Vates3 Alexa Matthews – Photo by Michael Shelford

‘The audition was lots of fun and Kevin and Paul have a way of naturally making you feeling at ease. What I loved was that Kevin directed me in some of the chosen scenes with Paul and we got it up on its feet. Auditions can be a really surreal environment but instead of sitting behind a desk Kevin and Paul were much more involved.’

Where was she when she heard she had been offered the part? ‘I had just boarded the plane to France for a friend’s wedding with my boyfriend and received the email just before taking off. I was so excited to hear the news and couldn’t wait to get back to discuss the play further.’

The whole production rests on Alexa’s shoulders – so no pressure there. It’s such a famous role, it is natural to feel nervous about the months ahead. Alexa said, ‘I really hope that I do the play justice and that the audience come away feeling like they have seen a great version of the play. I hope that they are tickled with its lightness but also come away with an understanding of the fresh and relevant messages it has to convey.  Importantly I hope they have a great evening out and that as a company we also have lots of fun.’

What Alexa may not realise at the moment, though, is just how many macaroons she will have to consume during the run. I think I may keep count… but more on that later.

A Doll’s House by Henrik Ibsen will be performed from November 3rd to 22nd at Barons Court Theatre, west London. Tickets are selling fast, so if you fancy stopping by call the box office direct on 020 8932 4747 or email londontheatre@gmail.com to reserve seats.

www.newdreamstheatre.co.uk

Facebook: New Dreams Theatre

Twitter @KevinNewdreams

 

 

Interview with May I Kill U? Star Hayley-Marie Axe

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What did you think when you read the script?

I was intrigued and I couldn’t put it down. I did the nervous laugh thing that a lot of
people do when they first watch it, because you want to laugh at certain bits that you
really think you shouldn’t.

What made you take the role?

I really like Val’s character because on the outside she comes across as tough, but she
is vulnerable at the same time, which I can relate to. I thought she would be a very
interesting character to play and I could see myself playing her as soon as I read the
script.

Miku-Hayley-MarieAxe-LR1.jpg
Any great on set stories?

We had to go out and practice riding our bikes whilst being supervised and Kevin got
told off quite a bit, I don’t think he did his cycling proficiency at school.

Do you have a favourite genre of film?

Action or comedy….depending on my mood.

How long did the film take to shoot?

About five weeks. Went very quickly though.
What was it like working with Kevin Bishop?

Entertaining.

How do you prepare for doing a film?

I always do lots of research on the team involved so I have an idea of the style, and
even more research on the characters and the story. For ‘May I kill U?’ I read up
on serial killers, rode my bike a lot and chatted up the rather attractive policemen at
Sloane Square station on the way to my audition to ask them questions, and I also had
several conversations with a female officer from my local police station, who was
very helpful.

Do you think horror and comedy naturally work well together?

Yes I think horror and comedy can work really well together-particularly dark
comedy, and there is a place in the market for it.

Do you think that the roles for women in film are improving?

Yes, I think roles for women are improving, but there are still many more roles for
men than there are for women.

What’s next for you?

I’m currently playing Katia in the action web-series ‘Next Global Crisis’, and Delilah
Crunch in the spin off ‘The Fail-Safe Sisters’.

 

The Unpaid Acting Work Dilemma by Professionally Resting.

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Casting call: ““Unfortunately we’re not able to offer a fee on this occasion.”

Sadly this type of casting call is one that I’m all too used to seeing. At least 75% of castings will
contain the above sentence or a wonderfully inventive version of it (such as the incredible ‘This is
a no-pay experience!’) It’s unfortunately become a fact of acting life and I’ve become as skilled as
sifting through castings as I have at rifling through sandwiches for rogue tomatoes. Directors will try
and soften the blow by telling you that you’ll get a credit to put on your CV (gee, thanks) and that
they’ll be providing you with food on set. On-set catering can be a thing of beauty (pizza) but it can
also be an utter horror made of stale sandwiches. Apparently actors can live on credits and bread
alone. If only landlords, phone companies and councils could be fobbed off in the same way.

Unpaid work has become a rather aggressive disease in the acting world. What was once the domain
of film students and wannabe filmmakers; it has now entered the world of television. And this is
a worrying development. I understand that however much they’d like to, students and smaller
production companies can’t always afford to pay people. The ethics bother me because I believe
that if you can’t afford to pay everyone then you probably shouldn’t be making the piece in the first
place but that’s an argument for another day. Unpaid work happens and sadly, just like the damp in
our flat, I have to deal with it for now and watch it ever so slowly ruin me. I should also admit that
I’ve taken on my fair share of unpaid work in the past. Unfortunately there are times when you have
very little choice and so you can either do nothing or take on some unpaid work in the hope that
it might just get you spotted. It won’t, but you never know when that top agent is going to turn up
at a secondary school in Northampton to watch you prance about telling kids about the dangers of
heroin. But now the bigger companies have jumped on the bandwagon and suddenly everything is
starting to topple over.

There have been a string of very high-profile companies that have recently started advertising
unpaid or expenses only work. And when I say ‘high-profile’ I mean the type of companies
that produce widely watched primetime programmes that air on terrestrial channels. These
are companies that clearly have plenty of money, or at least enough cash to make sure that all
performers are fairly paid. When they start offering unpaid work, what kind of message does that
send out to all the other companies? Apparently it’s now perfectly acceptable for these businesses
(one of whom made a profit of £471m last year) to get performers to work for free. But these
companies forget that actors often have a lot of time on their hands so it doesn’t take too long
before they’re ousted via the beauties of social networking. But what happens when they get found
with their devious trousers around their tight-fisted ankles? Well, what has happened recently
is that they make like George Osborne and u-turn. However, they don’t then promise to do the
honourable thing and actually pay actors. Oh no. Their reaction is to say that they will instead be
casting friends, family or employees. That’s what this profession has been downgraded to. Actors
are now regarded so poorly that we can be instantly replaced with the make-up artist’s cousin and
the focus puller’s university mates the second we start to complain. We find ourselves so low on the
career ladder that we’ve now been downgraded to the lackey that just holds the ladder and watches
everyone else climb up it.

So what this means is that actors will yet again be forced into unpaid work as they desperately try
to keep hold of a career that’s more slippery than a greased-up seal. We continually find ourselves
being held to ransom where we can either ‘shut up and put up’ or keep fighting and risk the chance
of never working again. Just like the next actor, I’d love the exposure that a primetime programme
would offer but never at my own expense and certainly not just so an exec can save a few precious
pennies and ensure that their bonus is intact for another year. Why should they get to go on exotic
holidays when I’m left wondering how to survive for the next week on a tin of chopped tomatoes
and a rapidly ageing nectarine? It’s at its lowest, meanest level and until all actors make a stand against these companies, all we’re doing is encouraging them to turn our already fragile
industry into a laughing stock.

Become a Cannes VIP and Star in a film for Stella Artois

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Would you like to star in a film that will premiere at the Cannes Film Festival? Actors all over the globe dream of an opportunity like this.

Stella Artois has launching the ultimate film fan’s competition offering would-be stars the chance to play Jacques d’Azur, the legendary ‘King Of Cannes’, in the highly anticipated biopic of his life. In addition to playing the leading role in the film, the lucky winner willalso attend the prestigious Cannes Film Festival where the movie will premiere, and will receive movie star treatment throughout their trip. Would-be leading ladies need not miss out on all the fun – the online casting call alsooffers the opportunity to audition for a starring role playing opposite the legendaryJacques d’Azur.

Following Jacques d’Azur’s mysterious disappearance in 2010, Stella Artois launched a search for his rightful heir who was treated to Jacques’ week at the Cannes Film Festival.

Having been missing for over a year, Jacques is presumed dead, and all of Hollywood eagerly anticipates the movie of his life. But the greatest challenge still lies ahead – noactor can be found to play the leading role.
Stella Artois is now kicking off the search for the perfect leading man, using the latest in digital technology to ensure would-be Jacques’ from far and wide have the chance to audition.

The winner of this once in a lifetime opportunity will jet off to Cannes to film their part,and will then be treated to a five star experience befitting their newfound celebrity.
In true film star style, the premiere will be followed by a star studded party at Chez Jacques’, Stella Artois’ luxury, invitation-only lounge at the Carlton Hotel’s exclusivebeachfront property in Cannes.

To enter, budding movie stars will need to film their scenes on their webcam and this footage will then be seamlessly added with the leading lady’s scenes to produce a casting film which would-be Jacques’ can share with their friends and family online. On April 1st, all submitted casting tapes will be put before our panel of distinguished judges who will select a short list of 200 Jacques’hopefuls, to be announced on April 5, 2011. The star of the film will be chosen from this short list.

Visit www.stellaartois.com for details and to apply. Good Luck!

Tools for actors: Performer Track review {Careers}

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An actor’s life is often stressful. With so many auditions, agents, jobs and people in your life. Trying to keep track seems impossible.

This is why I am glad to have come across an amazing organisational tool for actors: Performer Track. With different sections, you can keep track of all of your auditions, contacts, agents and bookings. Although US based, Performer Track works just as well for actors all over the world.

One of my favourite features is income and expenses. It can seem impossible as an actor to keep track of your income as it comes from so many different expenses. Keeping track of tax deductible expenses is just as hard. With Performer track you can put in all of your expenses occurred for every job. You can also find out what agents are good and which ones are not working by keeping track of all the jobs they get you. It is important as an actor to realise that your agents, managers and publicity people work for you. Performers track let’s you know who is propelling your career and who is not working for their percentage.

It let’s you keep track of what you were wearing to each audition, who was in the room and what they said. It let’s you map things to find out where you are going. It takes a chaotic, paper heavy career and makes it simple and easy.

It allows you to be the best CEO you can be of your acting brand. The mistake actors make is that they see themselves just as artists. Researching casting directors, directors and the projects you are working on will give you the edge you need in an overcrowded market with ever-dwindling jobs. Try it. You won’t be disappointed.